Book review - Pierre Boulez: Organised Delirium (by Caroline Potter)
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
Telemann wrote a new (or virtually new) biblical Passion setting every year during his tenure as musical director at Hamburg‚...
Reviewed in issue 11/2001
When these performers launched the Concertgebouw's current season with Mahler's Fourth, it was only to be expected that Decca would...
Reviewed by David Gutman in issue: 4/2000
On first hearing this issue on LP in 1971, Alec Robertson felt convinced that ''performances and recordings as good as...
Reviewed by Lionel Salter in issue: 6/1987
I suppose it is true, as Voltaire somewhat obliquely remarked, that the best is the enemy of the good. Certainly...
Reviewed by Richard Osborne in issue: 3/1991
The difference in substance between these three chamber works – each designed to display the special skills of the wind...
Reviewed in issue 11/1996
A gentle beauty holds sway throughout this recital, and though that may not sound like a reproach it does constitute...
Reviewed in issue 2/1997
It is good to find so responsive a young violinist as Daniel Hope turning to British music. As with his...
Reviewed by Edward Greenfield in issue: 3/2001
Although the paragraph on the rear of the disc proclaims Caldara’s Stabat mater to be ‘a major score of the...
Reviewed by Jonathan Freeman-Attwood in issue: 1/2001
Howard Zhang, born in Shanghai and brought up in the US, was only 16 or 17 when this CD was...
Reviewed by DuncanDruce in issue: 10/2003
Poulenc's Organ Concerto was written in 1938, not long after the death of a close friend in a car accident...
Reviewed by Christopher Headington in issue: 7/1990
Neither a biography of his early years, nor a close analysis of the pieces that blew up post-war...
Morrison’s Tchaikovsky is a rationalist who rather enjoys himself and aspires to a Mozartian poise...
This Senofsky double pack is revelatory, especially Brahms’s Third Sonata, a thrilling account with...
These are engaging, spontaneous-sounding performances that if widely heard could well spark off a...
Richard Bratby charts the relationship between the conductor and his Italian orchestra
‘Mengelberg’s performances – like Furtwängler’s – were for the most part products of careful...
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